Eye rolling
It turns out we were wrong all along, cher public: the Robert Lepage production of the Ring at the Met is in fact a triumph, as Robert Lepage explains to us in (where else?) the New York Times. “And I would have gotten away with it too, if it weren’t for you meddling purists!” (Photo: Ken Howard)
Well, I just saw Götterdämmerung in the house and the only truly annoying thing was the production and machine. What a lousy, noisy piece of trash. The singers, the orchestra, chorus and Luisi all had their good moments, sometimes more than moments, but that machine was noisier than in all the other three operas. It just ruins the magic of the music. Even near the end, the brief silence before the final recapitulation of the redemption through love motif is interrupted by machine noise. Why doesn’t Gelb sell that machine thing to Vegas to make a Lepage show there? Naked Rhinemaidens, morticia Norns, a Bruni stripper, etc. could put that machine there to better use as a Cirque show in some casino that does not yet have one. Opera fans here would be very grateful if that were to happen.
La Vally,
Your Vegas show idea is great. I’d go to it.
I’ll never spend another dime on this Ring, now that I know of Lepage’s contempt for score totin’ lap readin’ opera fans. I am not stuck with him and his Ring and the sooner it finds its ultimate home on Fresh Kills, the better.
Camille,
Yes, Lepage does not have to do theatre or opera for a show in Vegas, just attract the thousands with special effects and titillation, and he might do that well there with the machine. For the vassals he can use the Chippendales and Thunder from Down Under.
I will go to Walküre to see Jonas, but I might no stay for the whole third act and its monstrosity at the end, and I love that act. I hate the production more, if possible, after reading the above interview. Aside from the noise of the machine, the many stupid details get on my nerves even the day after. Are not the Rhinemaidens silly sliding on those planks over and over? This production is anti-Wagner. One always remembers the story and the music of the Ring with wonderment and obsessive awe even decades and centuries after, whereas this production and the machine just produces annoyance and disgust. Wagner had many Jewish friends that he loved, Halevy comes to mind. Does Lepage like any opera lover? Who of the two is closer to Hitler? Who created a disgusting machine that should be destroyed for the good of all? I hope Wagner forgives me from Valhalla for mentioning him in the same paragraph as Lepage, but the Met made me do it.
Manou -- re the orgy from the ROH Rigoletto was creepy. First, the Duke is beautifully costumed, and the women look very ragged, with many having high waisted skirts but no tops, and glitter on their bodies. The frontal nudity of the woman, and then later of the man was kind of like a car wreck -- you are compelled to look, but I wasn’t really interested. Also, the entire scene takes place outside the castle -- sort of a veranda. In my opinion it was an unnnecessary distraction to the beautiful music and energetic realization. There is probably some historic reference that is correct, debauchery, etc. but I could have done without it. You can check out my review at Cantorandopera on Youtube -- just open my channel -- is one of the first clips.
I saw this production in the theatre so I don’t know how it was directed for the cameras, but I think the nudity is a deliberate distraction so that Monterone’s entrance takes you by surprise (as it does the court). The orgy, I think, helps to not only create the sense of debauchery from which Rigoletto is trying to protect Gilda, but also emphasises the pack mentality of the courtiers: they grunt, they groan, they have sex with each other, and later howl, jeer and whistle. They behave like animals.
Yes, exactly. I think if it’s viewed solely as a ‘director’s attempt to shock’ then it will seem tacked-on and silly. Within the world of the production it makes perfect sense. This is a world where a girl can be kidnapped and then handed over to the boss, and a world where someone complaining that his daughter has been seduced/raped is laughed at. Too few productions raise those stakes high enough.
And you’re right, too, of course, about the deliberate distraction from Monterone’s entrance- a particularly deft piece of directorial sleight of hand, I’ve always thought.
I liked the Lehnhoff RIGOLETTO for a lot of the same reasons, and they have some similarities (the nudity in the first scene; the “bestial” characterization of the courties, here including masks of animals/insects/devils). I felt it justified its provocative choices, because they create a plausible context for the opera’s events. It’s a cold, nasty, hateful world, in which Gilda never has a chance.
Thanks for your input Edward. I think from the theater you are gazing on an entire scene, but from the camerawork presented in the movie house, the nudity scene was definitely highlighted. I guess I never thought enough about how Rigoletto is trying to protect Gilda from all this, and this production certainly pointed out the low-life atmosphere of these gala evenings. Did you think it was strange to have the opening scene outside the castle? Maybe I haven’t seen enough Rigolettos . . but they usually take place inside. Also -- the staircase was out of place -- it looked like a skeletal mock up made of aluminum.
Rowna -- first of all congratulations on having the energy and commitment to offer your own viva voce review. Highly commendable indeed.
I think I have probably seen this production too many times, and some things I liked about it have become irritating and jarring. I had posted a comment on the Intermezzo blog if you can be bothered to look at it again.
I’ve only seen that production once and I thought it was trying so hard to be ‘dramatic’ that the characters got lost in the mix. I didn’t feel it reached the dark heart of the piece -- and Rigoletto is maybe Verdi’s nastiest opera. It makes Forza look optimistic …
Monty -- I agree that Rigoletto is a nasty opera -- but in a very good way! Isn’t it amazing that people discuss it well over 150 years after it’s premiere? Forza and Trovatore could never interest me in the same way. And I know I will be villified for this, but Traviata doesn’t hold up as well as Rigoletto, at least, to me.
Thanks Manou -- and we should stop meeting like this -- I don’t know if La will post this -- but you can write to me at rownarowna@aol.com with a link to your entry -- I would be glad to read it.
Rowna -- the link is the same as the one I previously gave you :
http://intermezzo.typepad.com/intermezzo/2012/04/rigoletto-royal-opera-house.html
there are several comments (mine is the second).
There is another Intermezzo thread about Grigolo :
http://intermezzo.typepad.com/intermezzo/2012/03/210-minute-warning.html
which might make you sad, as it is not exactly complimentary.
I guess we disagree about the tenor. Of course, I didn’t hear him “live”, rather, electronically transmitted. I have been mistaken before, and will gladly take back all my good words if I hear him live and he doesn’t measure up. But from where I sat, he sounded good -- except for those little upside-down cry notes. Yes -- I remember the on line review and the bad press for Mr. Grigolo.
Castle? It looked like a scrap-metal dump to me.
I hated the set -- but we know it is where the duke lives so it must be a castle. Give me chandeliers and elegance any day over these modern evocations from set designers’ minds. I still don’t get the outdoor part.
Marshie, dahling, I take your word for it. Oh well??? Scheisse!
Between her and Voigt, what’s a girl to do?
Yes adorata Clitisssima scheisse indeed, but we know that Brunnhildes don’t grow on trees
and why we shoudl be thankful for all the gifts that God gave us in the 20thC but unfortunately nary a good one in sight yet. You know after seeing Karita on Monday in the Makropoulos I kept thinking what a tragedy that she never tried Brunnhilde because the voice is HUGE right now and so well produced and free, she might have been a great Brunnhilde……. of course it’s getting too late to try but what a might have been, she certainly had the goods when I saw her do the Chrysothemis that made me dimenticar Iddio, that is Leonie of course
She was just as dramatic and probably “sang” better. That was about 2002.
“The thought of revealing my identity made me a bit nervous because I realize that some of my postings over the past few months were (unintentionally) offensive to some. I understand that I’m persona non grata around here and I wasn’t sure how you would react towards me.”
Oh Pelly, your posts have never been offensive to me personally, and I wasn’t around these past few weeks to know if you have offended anyone, but it’s not as if you are Nerva, who is constantly offending someone or other
In any case, I want to repeat how delighted I am that the ticket went to you, knowing how much you truly LOVE WAGNER, so it couldn’t have happened to a better person, and I am really happy about that. Till next time…….
I am actually going to see Makropoulos tomorrow again, Karita was simply divine in the rehearsal, and Emalie Savoy held her own magnificently on the same stage as Karita, she sounded fabulous!
anyone going?